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        Footnotes
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        <p>new theory confronts
            us, which at first blush seems to supply, if not a more probable, certainly a more
            possible, stepping-stone between Xylography and Typography. We refer to
            what Meerman, the great champion of this theory,
            calls the “sculpto-fusi” characters: types, that is, the shanks of which have been cast in a quadrilateral
            mould, and the “faces” engraved by hand afterwards.</p>

        <p>Meerman and those who agree with him engage a large array of testimony
            on their side. In the reference of Celtis, in 1502, to Mentz as the city “quæ
            prima sculpsit solidos ære characteres,” they see a clear confirmation of their
            theory; as also in the frequent recurrence of the same word “sculptus” in the
            colophons of the early printers. Meerman, indeed, goes so far as to ingeniously
            explain the famous account of the invention given by Trithemius in 1514,<span class="footnote" data-note="14" id="note-14"><em>Annales Hirsaugienses</em>, ii,
                p. 421: “Post hæc inventis
                successerunt subtiliora, inveneruntque modum fundendi formas omnium
                Latini Alphabeti literarum quas ipsi matrices nominabant; ex quibus
                rursum æneos sive stanneos characteres fundebant, ad omnem pressuram
                sufficientes, quos prius manibus sculpebant.” Trithemius’ statement, as
                every student of typographical history is aware, has been made to fit
                every theory that has been propounded, but it is doubtful whether any
                other writer has stretched it quite as severely as Meerman in the above
                rendering of these few Latin lines.</span>
            in the light of his theory, to mean that, after the rejection of the first wooden types, “the
            inventors found out a method of casting the bodies only (fundendi formas) of all
            the letters of the Latin alphabet from what they called matrices, on which they
            cut the face of each letter; and from the same kind of matrices a method was in
            time discovered of casting the complete letters (æneos sive stanneos characteres)
            of sufficient hardness for the pressure they had to bear, which letters before—that
            is, when the bodies only were cast—they were obliged to cut.”<span class="footnote" data-note="15" id="note-15"><em>Origines Typographicæ</em>,
                Gerardo Meerman auctore. Hagæ
                Com., 1765. Append., p. 47.</span></p>

        <p>After this bold flight of translation, it is not surprising to find that Meerman
            claims that the <em>Speculum</em> was printed in “sculpto-fusi” types, although in the
            one page of which he gives a facsimile there are nearly 1,700 separate types, of
            which 250 alone are <em>e</em>’s.</p>

        <p>Schoepflin, claiming the same invention for the Strasburg printers, believes
            that all the earliest books printed there were produced by this means; and both
            Meer­man and Schoep­flin agree that engraved metal types were in use for many
            years after the invention of the punch and matrix, mentioning, among others so
            printed, the Mentz <em>Psalter</em>, the <em>Catholicon</em> of 1460, the Eggestein <em>Bible</em> of 1468,
            and even the <em>Nideri Præ­cep­tor­ium</em>, printed at Stras­burg as late as 1476, as “literis
            in ære sculptis.”</p>

        <p>Almost the whole historical claim of the engraved metal types, indeed, turns
            on the recurrence of the term “sculptus” in the colophons of the early printers.
            Jenson, in 1471, calls himself a “cutter of books” (librorum exsculptor).
            Sen­sen­schmid,
            in 1475, says that the <em>Codex Jus­tin­ianus</em> is “cut” (insculptus), and that
            he has “cut” (sculpsit) the work of <em>Lombardus in Psalterium</em>. Husner of Strasburg,
            in 1472, applies the term “printed with letters
            cut of metal” (exsculptis ære litteris) to the <em>Speculum Durandi</em>; and of the <em>Præceptorium
                Nideri</em>, printed in
            1476, he says it is “printed in letters cut of metal by a very ingenious effort”
            (litteris exsculptis artificiali certe conatu ex ære). As Dr. Van der Linde points
            out, the use of the term in reference to all these books can mean nothing else
            than a figurative allusion to the first process towards producing the types, namely,
            the cutting of the punch<span class="footnote" data-note="16"
                id="note-16">The constant recurrence in more modern typographical
                history of the expression “to cut matrices,” meaning of course to
                cut the punches necessary to form the matrices, bears out the same
                conclusion.</span>; just as when Schoeffer, in 1466, makes his <em>Grammatica
                Vetus Rhythmica</em> say, “I am cast at Mentz” (At Moguntia sum fusus in urbe
            libellus), he means nothing more than a figurative allusion to the casting of the
            types.</p>

        <p>The theory of the sculpto-fusi types appears to have sprung up on no firmer
            foundation than the difficulty of accounting for the marked irregularities in the
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